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Author: bibleandbeeswax
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Algorithm Art
Probably the most fascinating concept I’ve seen in the contemporary art scene, ARTSY is facilitating the auctioning of algorithms as art. While algorithms have certainly been sold, previously, for utilitarian purposes, this is the first auction, in my knowledge, for algorithms to be possessed simply for their aesthetic or conceptual quality. What does this mean for the field of aesthetics? What implications does this have for our understanding of fine art? I would spell all of this out, but I don’t know all of the implications. I think, though, that I could suggest a few things.

A bit of code from my website looks, visually, a bit like Anthony Ferraro’s ‘Hypothetical Beats.’
First, algorithm art challenges the distinction between utilitarian and fine art.
While craft already does a fine job of blurring the distinction between useful and merely beautiful art, algorithm art adds a whole new layer to this puzzle. For example, while Gerald Sussman’s, ‘Scheme’, is simply a visual commemoration to an algorithm, sold for a bit of history and for viewing pleasure, Anthony Ferraro’s, ‘Hypothetical Beats’, is sold mainly for its usefulness in producing sound. Further, Chris Maury’s, ‘Progression: Triptych’, is being sold as a piece meant to help, “Build better digital tools for those with poor vision.” The latter of the pieces is clearly the most utilitarian, fairly fascinating conceptually, and the least interesting visually. In what sense is ‘Progression: Triptych’ actually a work of fine art? While a useful piece, it has almost no aesthetic value. We’ll see why this can be lumped into the fine art category by looking at our next points.
Second, algorithm art demotes the aesthetic aspect of fine art.
This, undoubtedly, is the weakest part of algorithm art. But, honestly, what other contemporary art tries to promote aesthetics? Okay, really, there are lots of people invested in visual beauty, but we have to admit that minimalism and conceptualism have really grabbed a hold of the contemporary art scene. Of course, both of those things can be visually beautiful, but a great deal of the stuff is just ugly. Yes, I said it, ugly. But who says that ugly art can’t be decent art? Some people say that, I’m aware, but they’re wrong. Anyway, there is a broad spectrum of aesthetics in the algorithm art that’s being promoted. Some of it is plain, simple, minimalistic composition. Some of the work is a bit more complex visually, though not much. Some of it is never going to be seen, ever, and only used to accomplish a task. Whatever end of the spectrum–visually complex or basically not visual–all algorithm art demotes the aesthetic aspect of fine art. I’m not making a value judgment about whether that is good or bad, but I’m just making note of it.
Third, algorithm art promotes the conceptual aspect of fine art.
While the work of conceptual artists like Tim Hawkinson blurs the line between visual art that is useful, and useful things that are also visual, algorithm art seems to operate on another level. Both craft and conceptual art are at least tangible in products, but algorithm art’s tangibility is limited to the computer. Basically, algorithm art faces the same issues as that of internet art or Bitcoin art, or any form of art relegated to the machine, but even more so. Most internet art is at least visual (for example: here and here), and even Bitcoin art is dedicated to exploring the conceptual framework of Bitcoin through representation, but algorithm art like Chris Maury’s work is only visual to the extent that it is necessary to be visual. Algorithm art of that sort is basically like an engine. It’s visual form is typically not crafted for the sake of its beauty, but it is built for the sake of power. You can talk about the aesthetics of the engine, but the engine was certainly not built for its aesthetics. Further, the engine is really meant to be kept out of sight. It isn’t supposed to be looked at, and is supposed to function behind-the-scenes. Some forms of algorithm art are like that. Their aesthetic quality exists only because they have a form, but their form really isn’t meant to be seen in the first place. But, because of this, not in spite of it, one could consider algorithm art, art. Since it is skill devoted to a form, upon which we ought to engage our intellects, it falls into the realm of conceptual art. While the visual beauty of it (whatever beauty it has) is hidden away on a computer somewhere in lines of code, that code expresses itself, and translates into either music or software or something else. It’s like DNA. While we don’t (or shouldn’t) craft our own DNA, we can craft and shape algorithms in the hope that they express something useful or beautiful. This idea, this concept of expressing something hidden away, is really worth some contemplation. While a lot of algorithm art is primarily just useful, the artistic, the art aspect of the algorithm lies in its ability to provoke thought.
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How to Do History and Science
I’ve been reading through Michael Licona’s, “The Resurrection of Jesus,” and think that his first chapter is seriously helpful in beginning a conversation on the philosophy of history and science. He has an excellent paragraph on the relation of scientific inquiry to historical inquiry located on pg. 66 of this pdf, under heading 1.2.12, “Is history a science?” (pg. 68 of the printed text).
I think it’d be helpful to summarize the basic points of his introduction. The questions that I have written in bold could provide a starting point for a strong philosophy of history/science. Feel free to answer them, or provide resources that answer them!
In his prologomena on the philosophy of history, Licona essentially suggests that we use methods that are similar to the methods employed by scientists. Here is his basic methodology:
1. Define history (or science). He defines history as, “past events that are the object of study.” How should we define history and science?
2. Explain pre-conceptions of the historian (or scientist). He calls these preconceptions, “horizons,” or our, “preunderstanding”. He suggests that ways of overcoming our horizons include: use a common method, explain your preconceptions and your methods publicly, check yourself by your peers, submit your ideas to unsympathetic experts, account for the historical bedrock (things so strongly evidenced that they are regarded as fact, and are agreed upon by the majority of scholars), and last, actually seek for the truth. These same methods must be employed by scientists for them to arrive at valid hypotheses.
3. Explain “certainty” (which is intimately related with epistemology). He suggests that we cannot have absolute certainty that an event has occurred, but we can have accurate certainty. Since this is the case, all that we propose about an event is provisional. While historians are attempting to verify an event as historical, what are scientists trying to verify? How much certainty can they have about these things?
4. Explain Epistemology. Licona suggests that a form of critical realism is the best approach to reality. This means that first, as a realist, we believe, “reality exists independently of our knowledge of it, and our scientific statements and theories refer to this independent reality.” Second, in opposition to “naive” realism, which suggests that, “accurate historical judgments always result when correct method, theory, and evidence are employed consistently,” critical realism suggests that “accurate historical descriptions may be held with varying degrees of certainty.”
5. Define truth. He states that the correspondence theory of truth is most widely accepted, and the best understanding. He defines it by saying, “For our descriptions of the world around us to be true, they must correspond to its conditions.”
6. Define (historical or scientific) fact. Licona says, “Richard Evans defines a historical fact as something that happened and that historians attempt to ‘discover’ through verification procedures.” These verification procedures are the methods he encourages in overcoming our horizons (#2). How would we define scientific fact? Do scientists employ the same verification procedures?
7. Explain ‘burden of proof’. Licona suggests using methodological neutrality (rather than credulity or skepticism), which means that the one making a claim bears the burden of proof. If you claim Jesus was raised from the dead then you bear the burden of proof. If you claim Jesus wasn’t raised then you also bear the burden of proof. If we carry this over into science, the scientist who makes a claim is the one who bears the burden of proof.
8. Develop methodology.
A. He proposes that the best method for weighing hypotheses is argument to the best explanation (as opposed to argument from statistical inference). This means that hypotheses that fit a proposed set of criteria are preferred, and likely represent what occurred.
B. The proposed set of criteria generally includes: explanatory scope (quantity of facts), explanatory power (quality of explanation), plausibility (supported by other accepted truths), less ad hoc/simplicity (refers to fewer presuppositions), illumination (provides a solution to other problems). Are these sets of criteria appropriate for scientific hypotheses?
C. These different criteria are given different weight, and Licona follows this order of importance: plausibility, explanatory scope and power, less ad hoc, illumination. To what extent is this weighing of criteria valid? Does this carry over into scientific study as well?9. Develop a list of levels of certainty. All of the lists I have seen appear fairly arbitrary, however I might as well list what Licona suggests. He goes in order from the absolutely ridiculous to the pretty much certain: “certainly not historical, very doubtful, quite doubtful, somewhat doubtful, indeterminate, somewhat certain, quite certain, very certain, certainly historical.” A general guideline Licona proposes says that for something to be considered ‘historical’ (or else, ‘scientific’), “1. The hypothesis must be strongly supported and much superior to competing hypotheses and/or 2. the reasons for accepting a hypothesis must significantly outweigh the reasons for rejecting it.” It would be good if we apply something like this to scientific hypotheses.
All this from a theologian of all people!
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Was Jesus Married with Children? Here We Go Again
Was Jesus Married with Children? Here We Go Again
By now, most have probably heard the news splash about the forthcoming book by Simcha Jacobovici and Barrie Wilson, The Lost Gospel: Decoding the Sacred Text that Reveals Jesus’ Marriage to Mary Ma… -
The Necessity And Limits Of The Imitation Of Christ (2)
The Necessity And Limits Of The Imitation Of Christ (2)
Big debate in the Reformed world. Good summary of what it means to imitate Christ.
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The Van Gogh That Breaks My Heart
The Van Gogh That Breaks My Heart
Vincent van Gogh aspired to become a Calvinist pastor, like his dad. He pursued ministry in the Dutch Reformed Church until he hit a roadblock by failing his academic training, and then experienced what personal failure often breeds: disillusionment. He became disenchanted with pastoral ministry… -
Let Them Come Home (John and Abraham Piper)
Let Them Come Home (John and Abraham Piper)
In a recent Christianity Today interview, John Piper recounts the painful events surrounding the excommunication of his 19 year old son, Abraham. The night after that excommunication, I called him … -
The Book of Revelation: How Difficult Was Its Journey into the Canon?
The Book of Revelation: How Difficult Was Its Journey into the Canon?
The story of the New Testament canon is a fascinating one, with many twists and turns. There are books that were accepted very quickly, almost from the start (e.g., the four gospels), and there ar… -
The Cosmic Navel, The Silver Cord: The Body of Christ
I am reading an article concerning Jewish (rabbinic) thought on the possibility of incarnation. The author suggests that a rabbinic form of prayer, kawwanah, implies that if God is capable of being ‘imaged’ in prayer in His shekhinah glory, then He is capable of incarnation. But in the midst of all of this he spends a good bit of time discussing the direction of prayer, and how the Holy of Holies is to be prayed towards because it houses the glory-cloud of God, enthroned between the cherubim. He says,
Prayers are to be directed to…the cosmic navel, the Holy of Holies in the Temple of Jerusalem.
But when you consider what Christ tells us about prayer it blows all of this rabbinic nuancing out of the water. The true believers will worship the Father in Spirit and truth–not towards Jerusalem, not towards Samaria–but in Spirit. Similarly, we are taught that the Church in Christ is the ‘naos’–the inner-chamber of the temple–to the Holy Spirit. We do not pray to a location because we are the location of God’s glorious presence through the Spirit (1 Cor. 3:16-17; 6:19; 2 Cor. 6:16; Eph. 2:21). In this sense, those joined to Jesus by faith are the ‘cosmic navel’, the belly-button of the universe. Since Jesus has sent us the Spirit, and intercedes with the Father in the heavenly ‘temple’, we have access to God that those outside of Christ cannot begin to fathom.